Since 2017 the Institute for Art History and Historical Urban Studies at Technische Universität Berlin has been publishing the Open Access Journal for Art Market Studies (JAMS). As part of the Institute’s well established Centre for Art Market Studies, the publication presents interdisciplinary research results on the past and present art market. The Journal conforms to Open Access standards including website submission through www.fokum-jams.org and peer reviews. Articles are published both as pdf and in HTML format, they are DOI registered and usually subject to a CC BY-NC copyright license.

For January 2018 we are planning an issue on the subject of “Translocations and the Art Market”, guest-edited by Professor Bénédicte Savoy. It will focus on the role of the art market in territorial displacements of cultural assets since antiquity. The context for this issue of the journal will be the wide research area outlined in the Leibniz Project Cluster “Translocations”, which will explore different forms, consequences, directions and backgrounds of such translocations. However, contributions to this issue of the journal should focus specifically on art market research.

The following research areas are outlined in the Project Cluster and may serve as impulses for contributions to the journal:

Art trade, art theft and trophy enterprise in Antiquity (for example through analysis of antique forms of the market, transports, and presentation of translocated cultural assets)

The art trade in Europe during the period of the Discovery of the World during the Middle Ages and early modern era (for example, examining trade transactions in art during the crusades, European conquests in South America, the wars of religion and the Thirty Years War)

The trade in cultural assets and its dispersion in diasporas in recent and early modern times (for example analysing the role of the art market in translocating cultural goods from Italy, Greece, Egypt, sub-Saharan Africa, Asia-Pacific, and the Americas)

Expropriation and translocation of cultural assets in the context of the great wars of the twentieth century (for example with respect to art theft by the National Socialists, museum sales in Russia as a consequence of the Revolution, Soviet “trophy seizures”, and later the trade in dispossessed art in the GDR)

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